After a jaw-dropping end to Season 3, and with added context from the comics, Season 4 of Invincible was poised to be special. Let me tell you, it was quite special. Invincible returns to predominantly kick off the long-biding Viltrumite War.
At a grander storytelling perspective, this arc is far and away the most interesting. The series takes a few creative liberties with the source material, but I actually think it works for the better. I loved the expansion of our main cast: Mark, Oliver, Adam, and especially Nolan. The introduction of Thragg, the primary antagonist from the comics, was incredible. His inclusion as an unstoppable yet pragmatic and calculated foe immediately makes him one of the more complex characters of the series.
The second half of this season hits the peak of what the series has done. Action, suspense, and great storytelling perpetuated by many episodes of establishment. Everything flows together more coherently once Mark unites with Nolan, Adam, and the coalition. However, the first half stumbles. Episodes 3 and especially 4 are the worst two episodes of the entire series. They can’t go beyond poorly paced and awkwardly written filler that distracts from the more substantive plot development seen in the following episodes.
And, alas, this show continues to be plagued by inconsistent animation. Some of it can look great, while some also looks like the worst animation for a popular series. Invincible: Season 4 sees its best for the series, but also its worst. Everything involving the Viltrumite War is exceptional, and the season ends on a high note. However, episodes such as Mark going to hell stand out as series low-points.
New cast, new beef, same level of excitement. I recently rewatched the first season of Beef in anticipation for the continuation, and I loved it just as much as the first viewing. Jake Schrier and Lee Sung Jin’s return with Season 2 introduces a fresh, new, and immensely talented cast and conflict, and this is where I can see the longevity of a series such as Beef holding true.
In this season, two couples are pitted against each other following an abrupt altercation that strains the fortitude of both relationships. The disparity between both couples, both internally and amongst the sets, is starkly contrasted from the beginning. Overtime, this contrast dissipates to reveal glaring similarities, revealing the essence of its second season. The parallel decay of both coinciding relationships in the wake of ensuing chaos reveals poses a deeper deconstruction of each individual character, pitting their own internal conflicts amongst one another. What ensues are some wildly engrossing and equally astute scenarios of progressive tension.
Like I said, what a hell of a cast. In the absence of Steven Yeun and Ali Wong, we are treated to great roles fulfilled by Oscar Isaac, Carrie Mulligan, Cailee Spaeny, and Charles Melton. The whole cast brings a lot of personality that naturally resonates. It’s hard for me to pin down a standout, as Jake Schrier plays to all of their strengths as actors to develop wholly relatable, yet morally complex, characters.
His technical direction is robust and imaginative, between comedically timed stills, frenetic editing, and an awesome one take in the finale. With some elements of the conflict, I’m not sold on how it is gradually perpetuated to reignite turmoil between the core cast. I do, however, really like how the season ends and its significance towards the themes that intertwine this set of characters.
S2 is consistent to the fun abrasion that Beef was conceived from. Hell, it may even be slightly better. With such a stellar cast and a fresh, outrageous approach to a very humanized conflict, it is easy for casual viewers to enjoy.
Follow Zach (the Author) on IG – @pretentiousfilmcritic
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